is that of vivid reality. The artist's few
lines have produced with perfect success an effect, which might have
been entirely spoiled had he tried to finish it carefully.

We look once more at the landscape to see what influence the coming
storm has upon it. The fisherman pays no heed. The clouding of the sky
only makes the fish bite better, and absorbed in his sport he cares
nothing for weather. The haymaker on the hilltop has a better chance
to read the face of the sky, and starts up his wagon. The three trees
seem to feel the impending danger. Their leafage is already darkening
in the changed light, and they toss their branches in the wind, as if
to wrestle with the spirit of the storm.

XVI

THE PORTRAIT OF REMBRANDT

In studying the fifteen pictures of this collection, we have seen
something of the work of the great Dutch master, Rembrandt, and have
learned a little of the man himself, of his love for the sweet wife,
Saskia, of his friendship with the cultured burgomaster, Jan Six, of
his faithful and reverent study of the Bible, of his rare insight into
people's character. We are ready now to look directly into the
artist's own face, in a portrait by his own hand.

There are a great many portraits of Rembrandt etched and painted by
himself. We have noticed how fond he was of painting the same model
many times, in order to make a thorough study of the face, in varying
moods and expressions. Now there was one sitter who was always at
hand, and ready to do his bidding. He had only to take a position in
front of a mirror, and there was this model willing to pose in any
position and with any expression he desired. So obliging a sitter
could nowhere else be found; and thus it is that there is such a large
collection of his self-made portraits.

His habit of painting his own portrait gave him an opportunity to
study all sorts of costume effects. His patrons were plain, slow-going
Dutchmen who did not want any "fancy" effects in their portraits.
They wished first of all a faithful likeness in such clothing as they
ordinarily wore. It was chiefly in his own portraits that Rembrandt
had the satisfaction of painting the rich and fanciful costumes he
loved so well. He wore in turn all sorts of hats and caps, many jewels
and ornaments, and every variety of mantle, doublet, and cuirass. In
this he was somewhat like an actor taking the parts of many different
characters. Sometimes he is an officer with mustaches f